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Echoes of ’78 – Kontakthof

November 26th/27th/29th/30th & December 1st, 2024
Opernhaus Wuppertal, Wuppertal
100 minutes

A New Encounter with Kontakthof

Photo: Ulli Weiss ©Pina Bausch Foundation

Originally premiered in 1978, Kontakthof is a seminal piece in Pina Bausch’s repertoire, created at a time when her work was beginning to receive international recognition.  

It is said that Pina often mused on the idea of seeing her original cast dance the piece when older. Now, 45 years later, a new encounter with Kontakthof is being created by choreographer Meryl Tankard, who was one of the main characters in 1978. 

Eight of the original dancers return to their roles as the production creates a poignant interaction between past and present. Kontakthof – Echoes of ‘78 integrates projections of archival footage from their performances as younger dancers, and with company members no longer on stage.  

Sadler’s Wells, Pina Bausch Foundation and Tanztheater Wuppertal Pina Bausch

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Euripides Laskaridis – LAPIS LAZULI

October 1st – 3rd, 2024 Théâtre de la Cité Internationale, Paris
October 22nd & 23rd, 2024 Teatro Stabile Torino, Turin
October 27th, 2024  I Teatri di Reggio Emilia, Reggio Emilia
December 7th, 2024 Les Écuries, Charleroi
December 11th & 12th, 2024 Théâtre de Liège, Liège
80 minutes

An Unpredictable Performance from Greece

@ Pinelopi Gerasimou

Following the success of RELIC (2015), TITANS (2017), and ELENIT (2019) — which continue to tour globally — Euripides Laskaridis now presents his latest work, LAPIS LAZULI. Inspired by the mesmerizing blue semi-precious stone known for its unpredictable behavior under pressure, Laskaridis crafts an enigmatic world filled with intriguing dualities. The stone’s name, often interpreted as the “Stone from Heaven”, reflects both earthly and celestial origins, sparking Laskaridis’ exploration of contrasts on stage. Paying tribute to the rich diversity of theatrical genres — from amateur to commercial, horror to musical, ancient Greek drama to Kabuki, and beyond — LAPIS LAZULI also celebrates the complexity of the performing arts.

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Soa Ratsifandrihana – Fampitaha, fampita, fampitàna

September 18th – 22nd, 2024 MC93, Bobigny
October 3rd – 4th, 2024 Ballet national de Marseille, Marseille
November 20th, 2024 La Manufacture CDCN Nouvelle-Aquitaine, Bordeaux
December 10th, 2024 Théâtre d’Orléans, Orléans
90 minutes

A Young Talent to Follow

© Harilay Rabenjamina

Fampitaha, fampita, fampitàna – three Malagasy words that mean comparison, transmission and rivalry. In a score of abstract and figurative gestures, dancer and choreographer Soa Ratsifandrihana makes use of her own experience of diaspora and her Madagascan origins to tell us the kind of story she would have liked to have heard or seen as a child. Blending radio, musical and choreographic storytelling, the show plays with orality and movement, reminding us that our bodies, just like our words and sounds, are bearers of stories. Ratsifandrihana – who came to attention as a dancer in Rosas’ new version of Fase – drew inspiration from the words and stories she picked up on a recent trip to Madagascar. Joined by guitarist Joël Rabesolo and performers Audrey Merilus and Stanley Ollivier, she travels towards a form of wandering, exploring how several influences can lead to an unheard-of explosion of cultures like creolisation. Just as the change in accentuation between ‘fampitaha’, ‘fampita’ and ‘fampitàna’ alters the word’s meaning, the dancers glide from one state to another, seemingly following a constantly changing movement – or perhaps a form of creolisation.

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Jan Martens – VOICE NOISE

September 24th – 28th, 2024 charleroi danse / la raffinerie, Brussels
October 12th – 13th, 2024 Teatro Argentina, Rome
October 17th – 19th, 2024 mercat de les flors, Barcelona
November 6th, 2024 Theater Rotterdam, Rotterdam
November 19th – 23th, 2024 Théâtre de la Ville, Paris
December 11th, 2024 Concertgebouw Brugge, Brugge
December 14th, 2024 Leietheater, Deinze
90 minutes

The Gender of Sound

© Phile Deprez

On a selection of thirteen tracks by women, his dance spares us the illustration. Instead, it acts as a filter to enhance our listening experience.

Léa Poiré

‘Redundant.’ Or more bluntly: ‘Irritating noise.’ This is how the voice of the woman has often been considered from ancient Greek times to today.

VOICE NOISE is inspired by Anne Carson’s essay ‘The Gender of Sound’ (1992), in which she exposes how patriarchal culture has sought to silence women by ideologically associating women’s sound with monstrosity, disorder and death.

In VOICE NOISE, some innovative, unknown and/or forgotten women’s voices from the past hundred years of music history are given a stage. By doing so, Jan Martens takes another step in his efforts to shape an alternative canon.

Six dancers respond to recordings in which the human voice can be heard in various guises: humming, soothing, shrieking, whispering, singing. Gradually, they discover their own voice.

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Christian Rizzo – d’après une histoire vraie

October 12th – 13th, 2024 Kyoto Arts Theater Shunjuza, Kyoto
October 19th – 20th, 2024 Saitama Arts Theater, Saitama
November 7th – 9th, 2024 Le CENTQUATRE, Paris
November 12th – 13th, 2024 Bonlieu scène nationale, Annecy
November 23rd, 2024 Domaine de Bayssan, Béziers
November 26th – 27th, 2024 Scène Nationale d’ALBI-Tarn, Albi
60 minutes

The Revival of a Masterpiece

© Marc Domage

Wearing short-sleeved shirts and denim pants, and barefoot, eight men appear on a dimly lit stage and begin dancing in silent unison. Soon, two drummers join them. The dancers synchronize in pairs or groups, and then suddenly become one person who has left the group. The joining and dispersing, repetition and development are dizzyingly but tightly constructed, leaving no time to take your eyes off them. And even in the neat composition, their bodies are bubbling and heating up, and excitement is pulsating.

Christian Rizzo is a multi-talented leader in the European art scene, with a wide range of fields including not only performing arts but also visual arts, music, and fashion. The origins of this work, which premiered at the Avignon Theater Festival in 2013, date back to about 10 years earlier, when Rizzo witnessed a dance performed by male dancers in Istanbul and was deeply impressed by it. One dance inspires the birth of another dance over time. We witness a moment in the unbroken dance activity.

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Stefan Kaegi / Sasha Waltz & Guests – Mirror Neurons

August 29th – September 1st, 2024 radialsystem, Berlin
November 23rd – 24th, 2024, Tanz Köln, Cologne
November 28th – December 1st, 2024 Kampnagel, Hamburg
December 13th – 15th, 2024 TEATR ŁAŹNIA NOWA, Kraków
80 minutes

A Documentary Dance Evening with an Audience

© Bernd Uhlig

This piece is an experiment, conducted anew in every performance. It revolves around the human brain and its relationship with the body. The audience is an essential part of the experiment, because its members are invited not only to watch the dancers but also to find their own groove, to participate from their seats as an active part of a collective system, and to feel the sensation of belonging to a vast hive brain.

Spiegelneuronen (Mirror Neurons) marks the first joint project with Sasha Waltz & Guests. Following on from Andrew Schneider’s remains in 2020, this project continues the dance company’s openness to new styles as well as its commitment to broaden its repertory through artistic exploration and interdisciplinary cooperation with international artists. The collectives come from markedly different artistic directions, but are equally interested in the unconventional use of space and in interdisciplinary work. In this first collaboration, Stefan Kaegi will join forces with both the dancers from Sasha Waltz & Guests and the audience for an exploration of the relationship between the individual and society, conducted through the medium of dance in front of a large mirror.

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Christos Papadopoulos – Ties Unseen

September 26th – October 2nd, 2024 Amare, The Hague
October 4th, 2024 Chassé Theater, Breda
October 8th – 10th, 2024 Internationaal Theater Amsterdam, Amsterdam
October 12th, 2024 Theater Rotterdam, Rotterdam
October 23rd – 26th, 2024 Théâtre de la Ville, Paris
November 6th – 9th, 2024 Megaron, Athens
November 28th – December 1st, 2024 Amare, The Hague
35 minutes

Part of NDT 1 double-bill or triple-bille program.

A Minimalist NDT

© Nederlands Dans Theater

Christos Papadopoulos’ new work explores our subtle, everyday social connections, revealing the beauty within the most profound connections that often go unnoticed. Drawing from the unadorned fabric of the human experience, the choreographer illustrates the simplicity of shared moments: the unspoken understanding between friends, silent nods of solidarity among strangers, and the quiet resilience threaded through collective struggles.

A new voice for NDT, the Greek-born choreographer favours a minimalist and precise language of movement. Through small gestures that belie an intense physicality, Papadopoulos has created an ode to the power of invisible forces and transports the audience to a mysterious space in which there is neither beginning nor end.

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Sylvain Huc – Sujets

November 22nd, 2024 Cofestival 2024, Ljubljana
60 minutes

A Spellbinding Continuum

© Erik Damiano

Confronted with the rawness of their nature and the uncertainty of their condition, human specimens explore the space they inhabit and the desire that moves them. However abstract, the drawings borne out by their bodies attest to a tangible commitment by these individuals.

They experiment with movements, test their energies, feel themselves being pushed towards each other or into the void, which threatens to push back its limits… Drifting through the space, they suddenly regain their self-confidence to form a new community.

Through the use of nudity, Sylvain Huc explores the issue of writing, achieving the right balance between the organic nature of the choreography and the natural life of the bodies. The acute, supple movement of the performers, the subtlety of the lighting and the obsessive sound all combine to form a spellbinding continuum.

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Javier Martín – Figuras del Umbral

November 14th – 15th, 2024 Mercat de les Flors, Barcelona
70 minutes

Science, Philosophy and Choreography

© Leo López

A piece that invites us to reflect and review the speed of our era, installed in our bodies and fragmenting our attention. Javier Martín invokes the concept of ancestral rituals of “crossing the threshold”, involving the body in a social dance. In the words of the artist: “The famous ‘Guardian of the Threshold’ archetype refers to those figures that take on the forms of our most intimate fears: they guard the threshold, not to deny us entry, but to encourage us to explore the propitious labyrinth that facilitates transformation and, therefore, passage.”

Javier Martín, a choreographer with a scientific background and passion for philosophy, is developing an epistemological and critical research project about the art of movement. He takes a transdisciplinary approach to choreographic creation and dance, drawing on writing, performative conferences, research groups and creative laboratory and tool development. Since starting out in 2005, he has created and showcased more than 30 productions in Spain, France, Russia, Portugal, Ukraine, Mexico, Colombia, Guatemala and Uruguay, with fifteen stage shows and an equal number of site-specific projects and special collaborations.

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Farooq Chaudhry – Ten Thousand Tons of Moonlight

November 15th – 17th, 2024 Young Theatre, Shanghai
Duration: unknown

When Poetry Meets Dance

© Oliver Hoo

Ten Thousand Tons of Moonlight is a compelling dance-theatre production that draws inspiration from the thought-provoking poems of Yu Xiuhua, a female celebrated contemporary Chinese poet. The production brings to life Yu Xiuhua’s reflections and questions on love, beauty, disability, and the societal expectations placed on women.

Conceived and directed by Farooq Chaudhry, Ten Thousand Tons of Moonlight, merges the languages of poetry, dance and visual design to explore the dualities and contradictions that inhabit Yu Xiuhua and all of us. The performance raises questions about the role of personal struggles in finding our authenticity. It asks whether stepping out of the shadows and embracing our true selves is the key to finding liberation, or if these shadows hold a deeper meaning? Could these poems, serve as a doorway to an alternate reality where our essence can flourish and our souls can find freedom?

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